Innholdsfortegnelse for Issue 149 i Artist's Palette

Welcome to our latest issue of Artist’s Palette. Needing some inspiration? Turn the pages to see some fabulous demonstrations and insights from five wonderful artists. Enjoy art history? We bring you an engrossing article on the Renaissance, with its wealth of artists and spectacular paintings, sculptures and frescoes. For added inspiration, our What’s On and ArtBeat pages feature some amazing exhibitions, accompanied by gorgeous photographs. We love to showcase the artistic works of talented Australians, from enthusiastic beginners to accomplished artists, so if you’re keen to be featured in the magazine, please send in your submissions to us. Readers’ letters are always welcome at Artist’s Palette magazine. Please email correspondence to: The Editor, ap@woodlandspublishing.com.au, or post your contributions to Artist’s Palette, PO Box 8035, Glenmore Park, NSW, 2745.…

One could visit Italy’s beautiful city of Florence (Firenze) time and time again and still not see all the magnificent art that populates this cultural and artistic centre of the world. Much like the view from the bridge over the Arno river that runs through Florence, there will forever be a deeper richness to be seen in this city’s offerings. Despite its small size, this riverside city looms large on many people’s ‘must-see’ list. Florence is home to a multitude of spectacular paintings, sculptures and frescoes imagined and created by some of the greatest minds of all time. It was during the 15th Century that an extraordinary group of young artists and intellectuals emerged in this city, creating new modes of vision and thought that departed from formulas of the…

• I find that it can be quite overwhelming if you look at the whole wave in its complexity. Therefore, I try to break it up into sections of colour and movement. Try to visualise the blocks of colour beneath the foam and froth, then start with the darks first, always being mindful of the curve of the wave. Blend your pastes in the direction of movement. Leave the area for the white froth clean at this stage. • When forming the background waves, ensure that you create depth and movement by painting the waves in a gently undulating pattern, not straight lines. • When painting the horizon, make sure it has softened edges, not a hard, straight line. This helps to give the illusion of distance. • I tend…

My love of the Australian bush stems from my early childhood in the South Australian countryside, with time at my grandparents’ farm just south of the Flinders Ranges. A country of rolling hills, and a creek with lots of rocks, alongside which grew huge eucalypts. From the homestead, which was built of stone (it was more like a romantic cottage), one could see Mount Remarkable. I believe this is why I love to paint our wonderful land. I attended a small public school run by a very excellent head master at Wasleys, a small country town near Gawler, when art was only a subject in years 6 and 7. I do, however, remember drawing many horses heads copied from an old card at home. Moving to boarding school in Adelaide…

• Celebrate 150 issues • Catch up with some of your best-loved artists • Our favourite covers from the past 15 years • Great prizes for our readers Look for it in your newsstand soon – or become a subscriber to ensure that you never miss an issue! On sale 28th November 2016 We would love to hear your views on almost anything to do with art. Please don’t hesitate to write to us at Artist’s Palette. Send your letters to: The Editor, Artist’s Palette magazine, PO Box 8035, Glenmore Park NSW 2745.…

MYSTERIOUS BENEFACTOR ‘Treasures of Australian Art 1890s to 1940s’, a new exhibition opening in August at Hazelhurst Regional Gallery, will display the work of some of Australia’s most important artists including Norman Lindsay, Arthur Streeton, Hans Heysen, Rupert Bunny, Lloyd Rees, George W Lambert, Tom Roberts, Elioth Gruner, Charles Condor, Margaret Preston, Sydney Long and Roy De Maistre. The works are from the Howard Hinton Collection, the only collection of its kind in sheer breadth of its coverage of Australian art from the 1880s to the 1940s in regional Australia. Howard Hinton (1867-1948) was a generous and mysterious art collector and benefactor who was passionate about art. When he first arrived in Australia from England in 1892, he lived in the artists’ camps around Sydney Harbour and as a result…

I was born and educated in the USA, and hold a Master of Art Degree in Drawing and Painting. I migrated to Australia in 1975 on a teaching contract, and spent most of my teaching career in Australia with a few years in the USA. As a Visual Art Educator and Head of Department for more than 33 years, I also lectured not only at high school level but university level as well. I am qualified and experienced in an extensive variety of Visual Art disciplines including 2D and 3D media, photography and the History of Art, and instructed in these media and approaches to my students. My goal was always to instruct my students in the both the practice of visual art as well as the theoretical aspects of…

• Painting eyes: Eyes are like water – they reflect the sky. They’re also fluid and transparent. Looking into an animal’s eye is a bit like looking into a moist marble! Eyes are not a flat colour – they are layers of different colours and often have flecks of colours such as amber, gold or green. To achieve this layering, I paint the eyes as a series of glazes, making sure each layer is completely dry before applying the next. pet you are painting being depicted in bright light, the eyes will have significant catch lights (reflections). (Examples 1 & 2) are types lights – primary and secondary. Generally the secondary catch light will be darker and less well defined than the primary. If the lighting is low,…

• I painted this scene from a slightly elevated position, therefore all the heads are not level with the horizon (eye level) as if I were painting it on the sand level with the bathers. So I now think in terms of ‘people units’ where the tops of heads and the horizon are equal in units in relation to the height of the person. This proportion can vary as to the height of elevation. 2, 3, 4 unit (Fig 1). Cast shadows are determined by the position of the sun. In this case I draw an imaginary line from the sun vertically down to the horizon. Another imaginary line is drawn from that point through to the base of any object or person casting a shadow, as this determines the…

MATERIALS • 3 coats of Atelier Gesso Primer applied to linen, lightly sanded between coats • Drawing media range from 2H and 4B pencils • Oil pastels • Atelier Free Flow Acrylic, Paynes Grey for drawing in subjects • Liquin • Oil paints - mainly Windsor Newton and Artist Spectrum brands: – Spectrum Yellow – Naples Yellow – Cadmium Yellow Pale – Cadmium Orange – Alizarin Crimson – Scarlet Lake – Deep Red – Magenta – Dioxadine – Purple – Ultramarine Violet – Prussian Blue – Cerulian Blue – Sapphire – Viridian – Leaf Green – Zinc White • Odourless turpentine • Mont Marte paint and sculpt tools • Artisan brushes - short flat/ bright, Sizes 4, 6, 8, 16 • App for iPad ‘Drawing Grid’ My wife and I…

• I stretch my paper by soaking it in cold water for 10 minutes and then stapling it to a board to let it dry. Before I start, I place masking tape around the border. This is helpful as I have an instant clean edge, which helps me to visualise the finished artwork and make decisions about what is needed. • I paint with the board on a slant, this is especially necessary for reflections in water. • Mixing granular paints together can give a nice effect for background hills and using limited colours helps with harmony. • I like to have a focal point where the darkest dark and lightest light meet, one-third across and down on the paper. • Painting outdoors teaches you to make quick decisions. No…